I wanted to share something that’s come across my radar as a potential work opportunity, especially for anyone feeling the slowdown in traditional film and TV right now. There’s a new market exploding around vertical shorts / micro-dramas. You’ve probably seen pieces of this already on TikTok, ReelShort, DramaBox, ShortMax, etc., but what’s happening behind the scenes is interesting. These platforms are producing scripted, episodic content designed for mobile: - Episodes are typically 1–3 minutes - Seasons can run 30–75 episodes - Content is bundled and sold directly to users inside apps - And yes — these shows are being edited by real humans This isn’t a gimmick. It’s becoming a full-on production ecosystem with producers, production companies, schedules, deliverables, and post workflows. Different from long-form TV, obviously — but still very real work. Here’s a link to the search I did which gives you a broader overview of the space so you can get the lay of the land:👉 CLICK THIS LINK If things are slow for you right now, I’d strongly encourage you to: - Click through all the source links - Start noticing producer names and production companies - Look up where they’re based - And yes — do the footwork and get your resume in front of them Just like any other corner of our industry, opportunities don’t magically appear. You have to follow the breadcrumbs, make connections, and show up prepared. Is this the same as cutting a studio feature or prestige TV series? No. Could it be a way to stay working, build relationships, and gain experience in a rapidly growing sector? Absolutely. At the very least, it’s worth understanding where parts of the industry are heading — especially when audience behavior (mobile-first viewing) is driving real dollars and real production. Hope this helps some of you see another door that might be worth knocking on.

For those who don't know, EDLs out of Avid default to being ALL CAPS. This goes back to spec compliance with CMX3600 and GVG EDLs. Nowadays, this is less important as most conform systems are computer based and not as strict. It also used to be that most camera manufacturers always created tape names that were all caps, so it was a none issue. E012C0021_250902_X01534 is an example of a tape naming convention that is fine. For those who don't know what this tape name is, I'll break it down. E012C0021 means, Cam Roll E012, Clip 21. 250902 is the shoot date: 09/02/2025 X01534 is unique identifier which is usually an abbreviation of the camera serial number. That said, there is a new camera naming convention that I've been seeing used lately and it in includes one lower case character. An example of this is A_0165C007_250911_095758_h1EGB You can see that the last h is lowercase. If you use the EDL Importer to create plates as ALEs, this will create problems because ALEs are case sensitive. Because Avid defaults to converting all EDLs to uppercase, it will display this name as: A_0165C007_250911_095758_H1EGB However, it is possible to change this. There are template files for each EDL that you can modify. You'll find these templates at this location on your computer: /Applications/Avid Media Composer/SupportingFiles/EDL_Manager_Templates/ I always modify both the File32 and File129 template. To do this, first close Avid if it is open and right click on those files one at a time and I open them with BB Edit. At Line 20, you should see toupper_conversion TRUE * Convert all comments and titles. Change TRUE to FALSE and save the file. Now when you export EDLs, your markers, reel names and all other text will be the normal case as it was entered. If you find the EDL Importer is giving you errors with using ALEs for subclips, this should be the first step in trouble shooting. Here is a link to Avid's help forum if you need additional help https://community.avid.com/forums/t/185759.aspx

When I copy the media to drives for the episode editors, I use Automatic Duck Media Copy, because I’ve had issues with Consolidate. Do you use any other software or workflow for this? Thanks!

Does anyone know how to remove the gaps for the vision and audio tracks without the audio clips merging together?

Hey all. I've got a pretty common generic question that I'm sure we've heard plenty of times before. Does anyone have any stories to share about how they transitioned from unscripted to scripted? I'm one of the unscripted editors that finds themself mostly watching an enjoying scripted content. So I often question if I'm in the right genre, but it also keeps paying the bills. Curious what that path looks like. Do you have to sit in the AE chair? Do you have to take some indy/low budget gigs? And if so, how do you determine that said gig will be worth the effort put forth before signing on? How do you go about finding an avenue for either path? Any thoughts and advice are most welcome!